Global Reach. Innovative Programs. Diverse Perspectives.
ARTS, MEDIA & ENTERTAINMENT Top Stories Catching Up on the NFT Craze
Since 2021 was dubbed the year of the NFT, Patrick Twaddle updates readers on digital assets and their future ............................. page 4
Into the Weeds (and There to Stay)
Conor Fitzgerald discusses definitions of CanCon and the debate on Bill C-11 ........................................... page 5
DM@X: AM&E Alumni and the State of the Digital Media Industry
An overview of Nordicity’s report The Digital Media Universe in Canada at the 2022 DM@X ................. page 6
An Unexpected Career Turn
Anisia Avram shines a light on the illicit trade in cultural goods
.......................................... page 17
Unlocking Potential
Margaret McGuffin discusses how the federal government can unlock the potential of Canada’s creative industries .......................................... page 18
‘Look Again!’
Jennifer Matotek and the Art Gallery of Windsor brings art to city sidewalks
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A newsletter dedicated to alumni, students and friends of the Schulich School of Business MBA in Arts, Media & Entertainment Management 2021-22 Volume 26
A “Once-in-a-Generation” Opportunity for Canadian Drama By Lisa de Wilde, Bell Media Professor of Media Management It’s been exciting to see the recognition Canadian drama series and films have received from critics and awards alike this season, as well as the international sales! From drama series “Sort Of” and “Transplant,” to feature films “Scarborough,” “Drunken Birds,” and “An Inconvenient Indian” to name only a few, it’s been a very good year. Each winner exemplifies the best of fictional content, enabling the viewer to walk in someone else’s shoes (or to quote the actor Natalie Portman, “to practice empathy”). The last two years have also seen a boom of new diverse talent who self-launched during the pandemic, many creating in the short form digital content format.
A complex architecture of policy, regulation and financial supports fosters the creative industries in Canada. For example, Telefilm’s program for micro budget feature films, the NFB, the CMF, provincial and federal tax credits, licensed Canadian broadcast networks like CBC and CTV, and distribution platforms and festivals such as TIFF are a tapestry that underpins the value chain of the Canadian creative industries. The implementation of C-11 by the CRTC is a once-in-a-generation opportunity to contribute growth to the Canadian economy. Bill C-11, which
had first reading this February, proposes to update Canada’s broadcasting policy and add online undertakings as a distinct class of broadcast undertakings. When Bill C-11 becomes law — perhaps before summer — it should increase the funds available for more content production when the global streamers are finally required to make a financial contribution. Before these new funds flow into the system, the CRTC will be creating the policy framework to ensure that these new funds have maximum impact on the growth and sustainability of the Canadian creative industries. Two building blocks will be critical for the new policy framework. First, we need to own our own ideas because that strengthens the value chain in the creative industries. Service production helps keep the lights on for Canadian creatives but it’s not enough to support the growth of a vibrant ecosystem characterized by higher paying senior strategic positions for smart young Canadians. This approach to IP ensures Canadian companies can sell their products on the global market. Second, the new policy framework needs to be open to ALL the talent, not only established players. We need to incentivize talent scouting that leverages the diverse pool of talent that makes up Canada. This approach will foster dynamism and vibrancy in the creative industries. Let’s make sure we focus on the prize and make critical policy decisions that will build strong sustainable Canadian companies that leverage ALL the amazing the talent in Canada.